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Clytemnestra CLYTEMNESTRA Rhian Samuel CLYTEMNESTRA Mahler RÜCKERT-LIEDER Berg ALTENBERG LIEDER RUBY HUGHES BBC NATIONAL ORCHESTRA OF WALES / JAC VAN STEEN MAHLER, Gustav (1860—1911) Rückert-Lieder 18'57 1 Blicke mir nicht in die Lieder! 1'25 2 Ich atmet’ einen linden Duft! 2'33 3 Ich bin der Welt abhanden gekommen 6'20 4 Um Mitternacht 5'50 5 Liebst du um Schönheit (orch. by Max Puttmann) 2'17 BERG, Alban (1885—1935) Altenberg Lieder, Op. 4 10'37 Fünf Orchesterlieder, nach Ansichtkarten-Texten von Peter Altenberg 6 I. Seele, wie bist du schöner 2'54 7 II. Sahst du nach dem Gewitterregen den Wald? 1'07 8 III. Über die Grenzen des All 1'30 9 IV. Nichts ist gekommen 1'21 10 V. Hier ist Friede (Passacaglia) 3'24 2 SAMUEL, Rhian (b. 1944) Clytemnestra for soprano and orchestra (1994) (Stainer & Bell) 24'10 (after Aeschylus — English version assembled by the composer) 11 I. The Chain of Flame 4'41 12 II. Lament for his Absence 4'30 13 III. Agamemnon’s Return — attacca — 4'03 14 IV. The Deed (orchestral) 1'28 15 V. Confession 2'30 16 VI. Defiance 2'33 17 VII. Epilogue: Dirge 4'07 World Première Recording · Recorded in the presence of the composer TT: 54'46 Ruby Hughes soprano BBC National Orchestra of Wales Lesley Hatfield leader Jac van Steen conductor 3 Gustav Mahler: Rückert-Lieder Friedrich Rückert, the celebrated German Romantic poet and scholar, was Gustav Mahler’s poet of choice: for the composer, Rückert’s work represented ‘lyric poetry from the source, all else is lyric poetry of a derivative kind’. Mahler set Rückert’s texts for two of his orchestral song cycles: the Kindertotenlieder, which was a planned cycle composed between 1901 and 1904, and the so-called Rückert-Lieder, an ad hoc cycle comprised of five songs composed between 1901 and 1902. The order of the songs in the Rückert-Lieder can be a contested issue and performers will sometimes opt for different orderings (this recording conforms to the order in the Gustav Mahler Gesellschaft’s edition). Four of the five Rückert-Lieder are fully orchestrated and, like the Kindertoten- lieder, use a very large orchestra sparingly and delicately in a chamber music style, foregrounding and intensifying the intimacy and poetic subtleties of the texts (though, as was usual for Mahler, he originally composed the songs for voice and piano and then orchestrated them). The songs were published as a group of four in 1905, and premièred in Vienna’s Musikverein that same year; the fifth song of the cycle, ‘Liebst du um Schönheit’, was not published until 1907 and remained in its original piano version until several years after Mahler’s death. It was subsequently orchestrated by Max Puttmann, much to the dismay of Mahler’s widow, Alma, who felt ‘Liebst du um Schönheit’ should remain as it was originally intended, namely as an intimate and personal message to her from her late husband and not as a concert piece. The Rückert-Lieder are relatively brief, tender, and atmospheric songs, with simple, slowly evolving vocal and instrumental melodies interweaving throughout the cycle to create rich and seamless sonic textures. There is no narrative thread binding the songs together, the songs are not linked through musical themes, and 4 each song is also orchestrated differently; however, they are unified through the quintessentially romantic musings and imagery of the poetic texts. In these deeply moving songs, the poet explores love, nature and, especially, the decidedly Mah- lerian paradox of revelling in the sensual world, while at the same time having transcended it. Alban Berg: Fünf Orchester-Lieder, Op. 4 (‘Altenberg Lieder’) There is an inescapable irony attached to Alban Berg’s Fünf Orchester-Lieder song cycle: it arguably represents one of the most significant works of the early twentieth century in terms of the evolution of musical language, and yet is one of the least accessible in terms of its history and – until fairly recently – the frequency of per- formances and recordings. In these atonal songs, Berg draws directly on Mahler’s orchestral songs to blend the intimacy and lyricism of the Lied with the colours and emotional punch of a full orchestra. They were premièred in March 1913 in Vienna’s Musikverein, but the performance was interrupted by riotous protests from audience members who were evidently aghast at the sonic audacity of Berg’s music. This now infamous ‘Skandalkonzert’ caused the première of the complete cycle to be aborted: a full performance was delayed until 1952, sixteen years after Berg’s death. The paucity of adequate sources for the complete score – the work was halting ly reconstructed only through some pencil versions, a discontinuous fair copy, a particell of one song and sketches – also contributed to Berg’s so-called ‘Altenberg Lieder’ having been relegated to relative obscurity for much of the past century, notwithstanding their significance to the history of modern music. The texts used in the Fünf Orchester-Lieder are excerpts from a collection of ‘picture-postcard texts’ by Peter Altenberg, a so-called coffeehouse poet who was a member of the Jung-Wien literary movement and a well-known figure in the cultural circles of fin-de-siècle Vienna. Berg ordered the five small fragments in such a way 5 as to create a narrative arc of emotional catharsis and the apotheosis of the poetic soul. Musically, the songs also follow an arc: the song cycle is con structed symmetrically (typical of Berg), with its highly-integrated Bogenform evi dent down to the level of themes and motifs that appear at the beginnings and ends of songs and that bookend the cycle itself. The dense Brahmsian thematic technique and colourful Mahlerian orchestration seem to point to the past; however, the mo ments of Klangfarbenmelodie and the presence of nascent twelve-tone chords and melodies are decisively modernist, and prophesy the future of the Second Viennese School. © Alexander Carpenter 2019 Rhian Samuel: Clytemnestra Clytemnestra began as a commission from the BBC National Orchestra of Wales in 1994. Just before that, by good fortune, I had read Aeschylus’s account of the death of Agamemnon at the hand of Clytemnestra: the Oresteia trilogy was a ‘set work’ for my son’s O-level exams and he had left his paperback version of an Eng lish translation of it lying around at our little house in Ealing. I was fascinated by Cly- temnestra’s defence of her murder of her husband, himself the murderer of her daughter. But then I read the translator’s foreword. While it offered a learned dis- cussion of the role of women in Athenian society, it seemed to bypass, even ignore, what Aeschylus expressed so movingly in Agamemnon: Clytemnestra’s deep, per- sonal anguish at the death of her daughter, ‘the child of my womb’. So my goal was clear. I structured a libretto entirely from Clytemnestra’s speeches, consulting many different translations of Agamemnon to create a text that was singable and fell into six distinct vocal movements. The remaining movement (‘The Deed’, during which the murder takes place) I made purely instrumental, adding a bass guitar for depth! I did all this with one voice in mind: that of the opera singer Della Jones, a friend from my youth who even as a teenager was fabled for her amazing ear and superb 6 musicality. She also had a regal personality! And at the first per formance, Della, aided by the BBC NOW and conductor Tadaaki Otaka, did the work full justice. After Clytemnestra was performed in 1994, it lay dormant for several years. But it had loyal and steadfast fans and so it was re-mounted in 2015 by the same orch- estra with a new conductor, Tecwyn Evans, and soloist, Ruby Hughes, at the Bangor Music Festival. No composer wishes his/her work to be so strongly identified with one performer that no other may recreate it, and so I was also incredibly pleased that Ruby Hughes, with her glorious, silver voice, not only presented the work so movingly but gave it a new and different interpretation: now the queen became vul- nerable. For this recording, yet another wonderful conductor became involved: Jac van Steen. Clytemnestra was fortunate indeed! Writers/composers throughout the ages have been sympathetic to Agamemnon. On the other hand, ‘that a woman should murder!’ is basically the message that has been passed down to us about Clytemnestra. My intention, while re-examining the evidence presented by Aeschylus, was to ask (though we may condemn the deed itself ): can we really presume to condemn a woman who kills her daughter’s mur- derer – a woman placed in an intolerable predicament? © Rhian Samuel 2019 Rhian Samuel was born in Aberdare, Wales, in 1944 and has lived in Britain and the United States. Her first large orchestral work was Elegy-Symphony (St Louis Sym phony Orchestra / Leonard Slatkin, 1981) while Tirluniau / Landscapes (2000) was pre - mièred at the BBC Millennium Proms by the BBC National Orchestra of Wales and Tadaaki Otaka. She 7 was joint winner of the ASCAP-Rudolph Nissim Award (USA), in 1983; in the UK she has received accolades including the Glyndŵr Medal and an Hon. D. Mus. from the Uni versity of Wales. She co-edited The New Grove / Norton Dictionary of Women Com posers (1994) and has written on several of the operas of Harrison Birtwistle. Rhian Samuel completed a doctorate on six teenth-century musica ficta at Washington Univer sity, St Louis; she is now emeritus professor at City University of London.
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